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Negotiation of a Professional Cirtistic Identity

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HAKING EI LIVING: FLORENCE CRRLYLE AND THE NEGOTIATION OF A PROFESSIONAL CIRTISTIC IDENTITY by Susan But 1 in, B. A. (Hanours) A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfilment O+ the requirements for the degree O+ Master of Arts Canadian Art Histary Carleton University Ottawa, Ontario 17 Aprii 1995 -91995, Susan Barbara But 1 in National Library Bibliothèque nationale 1+1 ,canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, nie Wellington Ottawa ON KIA ON4 Ottawa ON KIA ON4 Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à 12 National Library of Canada to Bibliothèque nationale du Canada de reproduce, loaq distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic fonnats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts f?om it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son pemission. autorisation. CIBSTRACT This thesis examines the career o+ the Canadian painter Florence Carlyle (1864-1923) with particular focus on her negatiation O+ patriarchal barrie- to women's pro+essianal art practice. The establishment o+ Carlyle as a successful artist, in terms O+ critical response and as a +inancially independent artist who exemplified the qualities a+ the New Woman are central issues in this discussion- Chapter 1 examines the question of how Carlyle and other contemporary women artists were marginalized in the post-1945 canon O+ Canadian art histary- Chapter 2 discusses issues O+ women's access to pro+essional art training, Chapter 3 examines the strategies and alternatives Carlyle eaployed to establish and sustain her professional art practice, including issues O+ matronage and her work in commercial art in New York, The final chapter considers Carlyle's figurative paintings and examines haw her images of women contest and expand hegemonic visual representations O# femininity. ACKNOWLEDGEMENTS 1 would like to express my sincere thanks to my advisors, Natalie Luckyj and Ungela Carr, +or their advice and encouragementm In addition, 1 would also like to thank Mrs Marian flacCausland and the curator and staf+ O+ the Woodstock Art Gallery +or their assistance and support #or the project- Finally, 1 would like to express rny gratitude to the late Florence Johnston wha kindly shar-ed with me her knowledge O+ her aunt, Florence Carlyle, and who gave her support ta this project +rom the outset. Table of Contents Page Abstract i i Acknowledgemen ts i i i Table O+ Contents iv List O+ Iliustrations V List O+ Appendices X List O+ Clbbreviations xi Chapter 1: Locating the Artist: Introduction Chapter 2: On the fhteshold: Early Li+e and Ectucation Chapter 3: Brass and Copper: Earning a Living, Women Artist's Alternatives and Strategies Chaptec 4: Figures Under Trees: Picturing Women and lmaging Landscape Conclusion Appendix 2: Selected Exhibitions, Auards, and Honors Appendix 3: Tables Showing Frequency O+ Exhibitions 1890-1923 Appendix 4: Canadian women Exhibitors in the Paris Salon 1890-1896 Rppendix 5: -en Art Educators in Canada c. 1900 Appendix 6: Knoedler's Galleries* Exhibition of Paintings &y Homen Artists: List of Exhibiting Artists LIST OF ILLUSTFtATIONS FIGURE DESCRIPTION CHAPTER 1 1.1 Photograph of Florence Carlyle (c, Wl2), Collection WPAG, Wo~dstuck, Ontario, Illustration with phctographs of "F, Carlyle, Emily Carr, Mrs Schreiber, El Wyn Wood, Lilias Newtonn, +rom H.0- Hammand Painting and Sculpture in Canada (LSO), p. 54, Florence Carlyle, Afternoon, Venice k.19131, ail on canvas, 43 X 55 cm, NGC, Ottawa. A view of the Rio dei Mendicanti louking north to the Cimitero, Venice. Reproduced in The Canadian Magazine (Toronto1 52 (January 19191, 736. Florence Carlyle, Grey and Goid (cm1910) oil on canvas, 102 X 81 cm, NGC, Ottawa, The model was Miss N. Habee of Simcoe, Ontario, Purchased +rom the artist in 1910 through the Art Association O# Montreal- Reproduced in R,H. Hubbard The National Gallery of Canada: Catalogue of Paintings and Sculpture (Ottawa and Toronto: University O+ Toronto Press, 1960) 3~40,Fig, 307, Florence Carlyle, The Tiff Cc. WW), 184 X 135 cm, AGO, Gift O+ the Government of the Province O+ Ontario, 1972, Reproduced in Dominion of Canada IndustriaJ Exhibition, Catalogue of Department of Fine Arts (19031, p, 8, Florence Carlyle, Hrs Carïyle / Portrait of #y Hother <c,i893), oïl an canvas, 79 X 64 cm, Private Collectian- Repraduced in Florence Carlyle (WPAG, 1993). The subject is the artist's mother, Emily Youmans Carlyle (1834-19131. Florence Carlyle, An hakened Chord (cm1914) 99 X 79 cm, <approx, Private Collection- Reproduced in The Canadian Magazine 44 (November 1914): 37. The model is Carlyle's companion Judith Hastings, Anonymous illustration &ter Florence Carlyle, A Pleasant Hour ic. i9OO), reproduced in Catalogue, Twelfth Annual Exhibition of the Woman's Art Association of Canada (Toronto, lqOO), NGC Re+erence tibrary, Ottawa, Location O+ original painting unknown. 2-4 Florence Carlyle, Une dame hollandaise (c,1-3), ail on canvas, 79 X 64 cm, Private Collection. Reproduced in Florence Carlyle (WPAG, i967). 3.1 Anonymous illustration, 'Hembers of the London Art Club sketching a mdel" (cgl895), published in The DaiLy free Press (London, Ontario), 13 March 1895, n,p., Women's Art Club of London File, London Room &-&ives, LPL, Landan, Ontario, 3.2 Florence Carlyle, A Lily of Florence / Uiranda (c. l9O8), oit on canvas, 95 X 75 cm, Collectim WPAG, Woodstock, Ontario. Repraduced in Ontario Society of Artists (1911) 3.3 Florence Carlyle, La vieille victorine / Yictorine <cg18941, oi 1 on canvas, 71 X 56 cm, Private Col lection, Reproduced in Florence Carlyle (WPAG, i967>, 3.4 Florence Carlyle, Portrait of Sophie Yourans (n-dm), medium unknown, 27 X 18 cm, (approx.), Private Collection, South Africa. Photograph courtesy of Florence Johnston, The subject is the artist's aunt Sophia Youmans, younger sister O+ Emily Youmans Carlyle- 3-5 Florence Carlyle, Garden at Engleuood (n, d. ) , oi 1 on canvas, 61 X 41 cm, Collection WPffi. Reproduced +rom Florence Carlyle (WPAG, 19671, Fig. 32, The model is Carlyle's younger sister Maude, Painted in the garden at Englewood, the Carlyle +amily harne in Woodstock, Ontario prior to 1914, 3.6 Florence Carlyle, Sumer Horning (c. 19031, oil on canvas, 43 X 48 cm, Collection WPAG, Woodstock, Ontario. Repraduced +rom Florence Carlyle (WPAG, 1993). 3- 7 Florence Carlyle, The fhreshold (c. 19121, oi 1 on canvas, 113 X 93 cm, Collection O+ the Government of Ontario, on Loan to WPAG, Woodstock, Ontario, Reproduced in F. Bayer The Ontario Collection (19841, 61. Painted at Englewood, the Carlyle +amily home in Woodstock, Ontario, The artist's companion Judith Hastings is the model, Florence Carlyle, Spring Sonq (cml?l2), oi l on canvas, present location unknown. Reproduced in The Canadian Magazine 44 (March 19151, 384. Painting contributed by the artist in c,1914 to the "Canadian Patriotic Fund Exhibitiont' organized by the RCA- One O+ 83 workç which toured Canada in 1914-15 to raise money +or the war effort, Photograph showing Florence Carlyle and Judith Hastings as nurses (second row down, second and third +rom left), (c-August 1915), taken at Queen Mary's Convalescent Auxiliary Hospital, Roehampton Huuçe, England- Reproduced in "Roehampton Hause as a Hospital," Country Fife (14 August 1915): 240- Photograph showing Florence Carlyle (c,l920), taken in the garden o+ her home, Yew Tree Cottage, Crowboraugh, Sussex, England. Reproduced in Hg Charlesworth, "Pictures by Florence Carlyle, " Saturday Night (Toronta> 40 Cb June 1925), n-p- The cottage, originally a workman's home on a large estate, "Sweethaws Grange", was bought by Hastings after the war- Florence Carlyle, Sea Breezes k.19081, oil on canvas, 48 X 10 cm, Collection WPAG, Waodstock, Ontario, Florence Carlyle, Portrait of Lady D~umrond (1918), oïl an canvas, 102 X 77 cm, Collection Canadian Mar Museum, Ottawa. Photograph showing Florence Carlyle and her rnother, Emily Youmans Carlyle (c.1912), taken on +runt verandah O+ "Englewood", the Carlyle family home, Wilson Street, Woadstock, Ontario, Collection WPAG- Marie Bracquemond, Tea-Tire (18801, ail on canvas, 81.5 X 61-5 cm, Musee du Petit Palais, Paris- Reproduced in W. Chadwick Horen, Art, and Society (IWO), 220, Fig, 117. Photograph O+ Florence Carlyle (cgl9fî), originally published in F. Deacon, "Representative Women: Miss Florence Carlyle," The Globe (Toronto), 8 June 1912, 4, Florence Carlyle, Blanche (cg19ll), oil on canvas, . 69 X 81 cm, (approx, 1, Private Collectian. The mode1 is Blanche Hunter who later married Russell Carlyle, the artist's youngert brother. Painted at Englewood the Carlyle family home in Woodstock, Ontario. Mary Cassatt, Young Girl Reading (18761, oïl on canvas, 34.6 X 26.7 cm, Museum o+ Fine Arts, Boston, Bequest of John 1. Spaulding. Reproduced in D. Hwpes, The Aaerican Irpressianists (19721, 31, Plate 6, Flo~enceCarlyle, Two Woren on a Balcony, Venice / The Guest, Venice (c,1913), oil on canvas, 73 X 38 cm, Collection WPAG, Woodstock, Ontaria. Repruduced in Farr and Luckyj, from #oren 's eyes (lW5), 26, Figure 21, Robert Harris, Harrony (c. 18851, oil on canvas, 30 X 24 cm, NGC, Ottawa, Florence Carlyle, Thoughts (c,1902), oïl on canvas, Qa X 38 cm, Collection WPAG, Woodstock, On tario, Florence Carlyle, Hother and Chi14 (c,1910), oil on canvas, 86 X 71 cm, Private Collection, Reproduced in "Florence Carlyle, Artist," Christras Echa (London, Ontario) December 1911.
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